Contributed by Jonathan Stevenson / Neue Galerie’s compellingly incisive exhibition, titled “Eclipse of the Sun: Art of the Weimar Republic” and anchored by Georg Grosz’s 1926 painting Eclipse of the Sun, yields an ominously resonant tableau of a post-World War I Germany saturated with angst. Grosz’s busy, quizzical work depicts an aloof and corrupt Paul … read more… “Neue Galerie’s “degenerate” art and Babylon Berlin”
Interview: Sayaka Maruyama’s labyrinth of thoughts
Contributed by Emma Stolarski / I spotted New York-based Japanese artist Sayaka Maruyama’s memorandom 0 by chance on the growing art book collection of my former boss’s office shelves. On the cover, a vague image of in-progress notes and sketches prompted me to crack the spine, and from looking at the very first page I felt the familiar excitement for what … read more… “Interview: Sayaka Maruyama’s labyrinth of thoughts”
Benjamin Pritchard and Natasha Wright: Dark, murky, and subterranean
Contributed by Sharon Butler / Recently, Natasha Wright and Benjamin Pritchard had concurrent solo exhibitions at the John Davis Gallery in Hudson, NY. Both painters are drawn to a raw style of power painting that conjures Jackson Pollock and Lee Krasner in the pre-drip years, when they were thinking about Jungian analysis, the Collective Unconscious, and the spiritual … read more… “Benjamin Pritchard and Natasha Wright: Dark, murky, and subterranean”
Hello Instagram: Soumya Netrabile in Chicago
Contributed by Giovanni Garcia-Fenech / I initially resisted Instagram, dismissing it as a repository of selfies, sunsets, and celebrities, but, soured by Facebook and Twitter, I finally joined. Over the past four years I’ve come to appreciate IG for introducing me to a lot of terrific artists, many of whom never show their work in … read more… “Hello Instagram: Soumya Netrabile in Chicago”
Two Coats Selected Gallery Guide: August 2019
In August it seems as if everyone is out of town, but a few galleries, such as Fisher Parrish, Equity Gallery, Karma, Sunroom Project Space at Wave Hill, and Art + Leisure, are holding their shows over to September, and others are on view for another week or two. We’re looking forward to all kinds of new and interesting exhibitions in September, and … read more… “Two Coats Selected Gallery Guide: August 2019”
Post-exhibition shout-out: “We Woke Up This Way” at Sardine
Contributed by Sharon Butler / Despite our deep dive several years ago into Provisional painting and the Casualist tendency, a battery of questions continues to confront painters in the studio: can a painting be meaningful if the process involves fun rather than struggle? Is hard-earned resolution required? Or can something painted quickly and easily still qualify as good? At … read more… “Post-exhibition shout-out: “We Woke Up This Way” at Sardine”
Erin Lawlor: Like blood flowing to and from the heart
Contributed by Jennifer Rose Bonilla-Edgington / Erin Lawlor’s paintings, on view at Miles McEnery Gallery through August 16, have a sense of the familiar. Wide brush strokes play off one another, conjuring winding ribbons, rendered systematically like blood flowing to and from the heart — an ebb and flow of the most critical kind. At first … read more… “Erin Lawlor: Like blood flowing to and from the heart”
An artist’s notes: Christina Tenaglia
Images by Julie Torres, text by Christina Tenaglia / In addition to drawing and keeping sketchbooks, artists often take notes throughout the process of making their work. The notes published herein are from Christina Tenaglia, whose unabashedly human and thoroughly investigated work is on view at Thomas Parks Gallery through August 10.
Art and Film: Tarantino’s glourious layer cake
Contributed by Jonathan Stevenson / Once Upon a Time … in Hollywood, Quentin Tarantino’s re-imagining of the Sharon Tate story, is among his best films. It is on a par with Pulp Fiction and Inglourious Basterds, emotionally moving as well as intellectually hefty, and everything a black comedy should be: smart and ultimately serious as … read more… “Art and Film: Tarantino’s glourious layer cake”
Catalogue essay: Paul Pieroni on Peter Halley’s 1980s painting
The aim of this text, which was originally published as “Facts are Useless in Emergencies” in Peter Halley: Paintings of the 1980s The Catalogue Raisonne, is to provide an in-depth analysis of Peter Halley’s painting as it emerged during the 1980s. I engage Halley’s theoretical writing—which extends his visual language—while also considering the critical reception … read more… “Catalogue essay: Paul Pieroni on Peter Halley’s 1980s painting”